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Timothy Zila

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About Timothy Zila

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    edgeofthecity
  1. Am I the only one who thought this was great? Or that this is pretty clearly Ridley Scott's best film since Blade Runner (with the possible exception of Matchstick Men). Like others have mentioned, this film is considerably more explicit philosophically than No Country for Old Men, though very much in the same vein. The question of evil, which in No Country is explicitly framed by Tommy Lee Jones' opening and closing dialogue, is in almost every scene of The Counselor. And I, for one, loved it. I have a feeling there's a lot to get out of this film, especially with repeat viewings
  2. Everything I've seen, and the screenplay excerpt published in The New Yorker, has me excited. But you guys are right that there's a lack of buzz. In its much more modest way, it feels a little like John Carter. Blame it on the marketing and the fickle public. I almost wonder if McCarthy required some kind of contractual embargo (barring all early reviews, etc.) when he sold the script. Given his reclusive nature, I almost wouldn't be surprised.
  3. I'm in total agreement with you, Anders. I do, however, think there's a difference between saying Malick has a loose and improvisational style and saying "he has become increasingly poor at organizing his thoughts and ideas." I'm in total agreement with the former statement; I respectfully disagree with the second. On something of this note, it strikes me as somewhat unhelpful to say that Malick has moved away from traditional narrative. That's true, of course, but it also doesn't seem particularly helpful. It seems, to me, that Malick stages scenes and sequences much more like, say, Pina s
  4. Amen, Jeffrey. Amen. Would it be fair to say that Malick's style is moving towards a somewhat stream of consciousness style of filmmakking. I don't mean that entirely literally, but as I think about it seems that the way Malick directs his thoughts is pretty familiar to say, the way Virginia Woolf constructs sentences in Mrs. Dalloway. To say Malick "has become increasingly poor at organizing his thoughts and ideas" is, I think, to miss the point entirely. If you don't like it, fine, that's understandable, but it's not because of a failure on Malick's part to achieve his goal. I'm with Jeff
  5. Some good points, but I think these comments are more valuable as 'descriptive' rather than 'prescriptive' (or prohibitive) notes. And the idea that "sequences, or anything resembling them, are jettisoned in the two latest films" is BS. The Tree of Life doesn't have SEQUENCES? (I can name, quickly and without really pausing to think: the Creation sequence, the sequence where the children walk by criminals and cripples on the street, the funeral sequence, the sequence where the group of boys vandalizes the neighborhood, the sequence where the brothers ride their bikes to the forest, etc. etc.
  6. Timothy Zila

    Fight Club

    I'm not familiar enough with Fincher's work to make any sweeping claim, but I'm not bothered with it in general. Social Network is a fine film. I thought The Curious Case of Benjamin Button a rather mediocre film that claimed to have access to some kind of significance that it doesn't actually have (much, in a very different way, like Fight Club). Se7en, The Game, and Zodiac have been on my "To Watch" list for a while, but I haven't gotten around to them. To clarify a little, I don't entirely agree with Ebert. For example, I find his claims regarding the film's level of violence a tad hype
  7. Timothy Zila

    Fight Club

    I finally saw this today. The film, in the end, is such a self-indulgent mess it's not worth my time to say much of anything about it. I think Ebert pretty much nailed it, though. Which is a shame, really. I loved the first act - there's brilliance there. And there's great direction, acting, and humor throughout. But the film goes from being absolutely brilliant to being absolutely atrocious in the course of its running time.
  8. I saw the film today. It's exquisite. The phrase that comes to mind, when trying to describe the film, is "a really good melodrama." Because it is that, a melodrama, but also a convincing one. It shares a lot in common with both To the Wonder and Upstream Color, though I'm inclined to say that, as a film, it's better than both of those (as much as I love Carruth and think he has the potential to become a great director). There's a lot to discuss, really, but has anyone seen it?
  9. Well, the initial reviews aren't good. Is it getting too late to hope for another Gilliam masterpiece on the level of Brazil?
  10. Yes. I agree on the distinction between the two - Cuaron uses long shots, but there's some stitching of 'takes' using CGI.
  11. Am I the only one who thought this was, well, sort of fantastic? Props to Peter for pointing out some logic-problems with the film's world building, but those questions are secondary (at least for me) to how the film worked, as a film. And as a film, I thought Elysium was pretty top notch. Coming after the mixed reviews, I was expecting to be disappointed, but I wasn't . . . at all. Especially compared to the current crop of films in theaters, I thought Elysium was working at an entirely different level than, say, Pacific Rim or Wolverine (both of which I liked, and were a good deal better
  12. I have a really hard time believing that. I mean, did anyone see Oblivion? It's pretty hard to be worse than that.
  13. Seeing this tomorrow. No doubt I'll enjoy it. This has been my most anticipated summer film. Del Toro does everything with passion and love, and I have no doubt the result will be a good more invigorating, or at least genuinely fun, than say Man of Steel.
  14. I've been on something of a noir kick lately. I'm reading Raymond Chandler, I watched Chinatown a couple nights ago. Any good recommendations? My obscure recommendation is Farewell, My Love. It's mid-seventies, in color and with voice-over, and stars Mitchum in the title role. It's hard to find but it's a great film - I saw it at a noir festival a year ago and it's stuck with me. Hoping to rediscover it via video soon.
  15. Hey guys, I'm up for any del Toro, Kaufman collaboration. And I'd personally love to see Kaufman tackle Slaughterhouse-five.
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